"I don’t think being 13 to 15 is an easy time for any boy. It’s like a big puberty race, and if you’re coming in last, it’s not such a great race to be in. I was a hyper-religious, quite naive and very judgmental kid. I was unpopular for three years, and then it all kind of switched when I was 16. But I had already been marked with the “I’m going to fucking get out of here and show you bastards what’s what” tag. So I’m very grateful for that period of challenge between 13 and 16, facing the blinkeredness of that kind of schoolboy mentality of, like, “You’re gay, you’re bad at sports, you’re this, you’re that.” Because it did make me think: “I don’t want to end up in some bank, where I’m going to have to take this kind of shit off these same people for the rest of my life. I need to get out of this fucking treadmill 'public school, into university, into a bank, into a summer house in France'."

“Chris Martin can still seem embarrassed by his status as one of the planet's most recognizable rock stars. His band's music is completely and utterly grand in ambition and sentiment yet, offstage, Martin is mostly immune to the groan-worthy platitudes and shameless chest-puffing typical of his stadium-filling brethren.”

“Q: Do you think that the key in the new rock is going back to the electronic sound?”

“Wayne Coyne: Chris Martin is such a sweet, thoughtful guy, and he gave me a cool book and all this stuff. But part of it was that we thought, “Well, we’ll meet them, and then we’ll stay for a couple songs, and then we’ll go get something to eat, and it’ll be a great night, who cares?” And we stayed the whole show. The show was phenomenal. And when it ended, we stood there like, “It can’t be over!” It was like two hours of just sheer joy. And then when it stopped, we didn’t want it to stop. How many times are you at a concert where that happens? source”

“it was like, 'OK, we've got to that place, we've got to that job description, now what are we going to do with it? And I hadn't felt that we'd got there until the end of that tour. Nothing is left in terms of career aspirations. You're just left with, 'Well, our job is to translate the songs that we receive and get out there and be of use to people if they want it.' We've got to be a service, like a TV station. Or a tap. source source”

“Every phrase can be a good lyric if it has the good rhythm.”

“There's too much information . Everything you do is available all the time, so the only thing you can rely on is not being false. source”